Synesthesia in Cinema and in Visual Arts

Practice based research, a refutation of the proposition: science is not for artists
Babeş-Bolyai University
Faculty of Theatre and Television
EKPHRASIS
IMAGES, CINEMA, THEATRE, MEDIA
vol. 7
•
issue 1/2012
Synesthesia in Cinema and in Visual Arts
Issue coordinated by Ioan POP-CURŞEU
Senior Editor: Doru POP
Secretary of the Editorial Board: Ioan POP-CURŞEU, Babeş-Bolyai University
Editorial Board: Patrizia LOMBARDO, Geneva University
Liviu MALIŢA, Babeş-Bolyai University
Cesare MASSARENTI, Milano and Torino University
Doru POP, Babeş-Bolyai University
Ştefana POP-CURŞEU, Babeş-Bolyai University
ISSN 2067 – 631X
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Doru POP
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Practice based research, a refutation of the proposition: science is not for artists
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CONTENT – SOMMAIRE – INHALT
Ioan POP-CURŞEU
Quelques mots d’introduction. L’aventure sans fin des synesthésies ......................................5
Some Introductory Words. The Endless Adventure of Synesthesia
Film studies: Cinema and the Synesthetic Experience
Marion POIRSON-DECHONNE
Synesthésies au cinéma ou l’expression d’une poétique ............................................................9
Synesthesia in Cinema, or the Expression of a Poetics
Rosine BÉNARD
Le Cinéma comme expérience du monde sensible: Sombre de Philippe Grandrieux..............27
The Cinema as an Experience of the Sensitive World: Sombre by Philippe Grandrieux
Florence ROUIF
La Vision haptique cruelle, cruauté et sensualité
dans Trouble Every Day de Claire Denis .............................................................................34
The Cruel Haptic Vision, Cruelty and Sensuality in Trouble Every Day by Claire Denis
Yannick LEMARIÉ
Alain Cavalier, un cinéma de la sensibilité .............................................................................46
Alain Cavalier, a Cinema of Sensitivity
Doru POP
What’s Eating the Romanian “New Wave”? ..........................................................................58
Ioan POP-CURŞEU
Films et parfums ou quelques réflexions sur les synesthésies cinématographiques ................68
Movies and Perfumes, or Some Reflections on Cinematographic Synesthesia
Véronique BUYER
«Tout chante» ou l’entrelacement des sensations
dans Le Désert rouge de Michelangelo Antonioni ................................................................81
«Everything Sings» or the Interlacing of the Sensations
in Michelangelo Antonioni’s Red Desert
Doru POP
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Elena TYUSHOVA
Le Kitsch comme art du désespoir dans le cinéma de Rainer Werner Fassbinder
(Les larmes amères de Petra von Kant) .............................................................................99
The Kitsch as Art of Despair in the Cinema of Rainer Werner Fassbinder
(The bitter tears of Petra von Kant)
Essays: Visual Synesthesia in Arts
Till R. KUHNLE
Ces maudits trompe-l’œil «qui ne peuvent que nous
exciter l’appétit»: les arts face au défi de l’anti-aisthesis .......................................................111
Those Disastrous Trompe-l’oeil, “which by their Deceptive Likeness
Necessarily Excite the Appetite”: Arts Facing Anti-aisthesis
Marie-Laure DELAPORTE
L’Hybridité des genres artistiques: une Gesamtkunstwerk à l’aube du XXIème siècle .....130
The Hybridity of Artistic Genres: a Gesamtkunstwerk at the Dawn of the 21st century
Raluca MĂRGINAŞ
The Spurious Case of Synesthesia in the Popular Arts .........................................................144
Elise Van HAESEBROECK
Le Théâtre de Claude Régy, expérience synesthésique
et érotisme d’un corps à l’état de brume ................................................................................152
The Theater of Claude Régy, Synesthetic Experience and Eroticism of a Misty Body
Charlène CLONTS
Les Synesthésies dans les cubomanies et l’écriture poétique de Gherasim Luca .................162
The Synesthesia in the Cubomanies and the Poetic Writing of Gherasim Luca
Martine CRÉAC’H
Donner à sentir, à toucher et à entendre. René Char et la peinture de Wifredo Lam............177
Sensing, Touching, Hearing. René Char and the Painting of Wifredo Lam
Claudiu TURCUŞ
October, Eight O’Clock – East-Central European Proustianism
or Synesthetic Reappropriation of The Real ..........................................................................186
Books Reviews ....................................................................................................................186